The Gion Festival(Gion Maturi)

Introduction and History of the Gion Festival (Gion Maturi) no.2

In the year 970, the Gion festival became an annual event. By the end of the tenth century, it had assumed the pomp and splendor apparent today in the floots in the procession. Already by this date, two types of lage floots,musicians, danceres, comic plays, and artistic treasures were part of the festival. The floots which portray both Buddist and Shinto legends, had become representatives of different guilds and sections of the city. The epidemic which had been the origin of festival had long ago been fargotten, and the Gion Festival had already to develop into festival of merchants and common people.

During the Muromachi period of japanese history (1333-1568), japan was wracked by civil unrest. Because of dissension in Kyoto, the goverment ordered all lage gatherings, especially festivals, stopped. Imperial festivals did end for period, but the common people disregarded the government's rescript and continued to celebrate the Gion Festival. Even after fires which nealy destroyed the city, the people contributed their energy and funds to rebuild the floots in the opulent manner of previous ages. As the prosperity of merchants increased, art masterpieces form as far away as China and Europe were added.

From a beginning related to death and disease, the Gion Festival has become an expression of the joy and fervor of the people of japan. Whereas imperial festivals have waned in popularity, the Gion Festival, the supreme example of peopls' festival, has constantly maintained popularity and interst among the people of Kyoto and the citizens of all of japan. It is today considered the most important of the three Ground Festival of Japan.

The Gion Festival encompasses the whole month of Juuly . On july 1, peopole who are in charge of performing the festival gather in each block of floots to settle the procedure of the festival, people flock to Yasaka Shrine and Kyoto City officials meet to determine the order of the floots in the procession which marks the secular climax of the festival. Only eight floots are not incuded in this drawing for position, for their location is detemined by tradition. On july 10, the protable shrines in which the deities are carried through the city are taken to the Kamo River for purification ceremonies. The most festival period begins the evening of july 16, and continues through the next day. People who live in the downtown area of Kyoto open their homes and exhibit their family treaures to passersby who are touring the city, inspecting the floots which have been placed in whichever part of the city they represent. Then, the next morning, the grand procession winds through the city, completely halting the nomal activity of Kyoto for a day. Finally,on july 24 the portable shrines, which have been standing in an especially bustling part of the city for one week, are returned to Yasaka Yhrine until the next year.